Sebastiao Salgado Quotes

I looked through a lens and ended up abandoning everything else.

Let's build Paradise again.

When I was just starting out, I met Cartier-Bresson. He wasn't young in age but, in his mind, he was the youngest person I'd ever met. He told me it was necessary to trust my instincts, be inside my work, and set aside my ego. In the end, my photography turned out very different to his, but I believe we were coming from the same place.

I don't want anyone to appreciate the light or the palette of tones. I want my pictures to inform, to provoke discussion - and to raise money.

I try with my pictures to raise a question, to provoke a debate, so that we can discuss problems together and come up with solutions.

I have been photographing the portrait of an end of an era, as machines and computers replace human workers. What we have in these pictures is an archeology.

We are one human race, and there must be understanding among all men. For those who look at the problems of today, my big hope is that they understand. That they understand that the population is quite big enough, that they must be informed that they must have economic development, that they must have social development, and must be integrated into all parts of the world.

In GENESIS, my camera allowed nature to speak to me. And it was my privilege to listen.

I'm not a religious person. The language of photography is symbolic.

It's more important for a photographer to have very good shoes, than to have a very good camera

It's not the photographer who makes the picture, but the person being photographed.

For me, art is such a wide concept - anything can be art.

More than ever, I feel that the human race is one. There are differences of colour, language, culture and opportunities, but people's feelings and reactions are alike. People flee wars to escape death, they migrate to improve their fortunes, they build new lives in foreign lands, they adapt to extreme hardship….

I work on stories rather than individual pictures.

I believe that the average person can help a lot, not by giving material goods but by participating, by being part of the discussion, by being truly concerned about what is going on in the world.

I can be an artist a posteriori, not a priori. If my pictures tell the story, our story, human story, then in a hundred years, then they can be considered an art reference, but now they are not made as art. I'm a journalist. My life's on the road, my studio is the planet.

I'm not an artist. An artist makes an object. Me, it's not an object, I work in history, I'm a storyteller.

There comes a moment when it is no longer you who takes the photograph, but receives the way to do it quite naturally and fully.

Of course I will continue photography. I love photography. But when you become old, it's too much.

I work alone. Humans are incredible, because when you come alone, they will receive you, they accept you, they protect you, they give you all things that you need, and they teach you all things you must know. When you come with two persons or three persons, you have a group in front of them. They don't discuss with the new persons what is important to them.

It is a great honor for me to be compared to Henri Cartier-BressonBut I believe there is a very big difference in the way we put ourselves inside the stories we photograph. He always strove for the decisive moment as being the most important. I always work for a group of pictures, to tell a story. If you ask which picture in a story I like most, it is impossible for me to tell you this. I don't work for an individual picture. If I must select one individual picture for a client, it is very difficult for me.

I discovered photography completely by chance. My wife is an architect; when we were young and living in Paris, she bought a camera to take pictures of buildings. For the first time, I looked through a lens - and photography immediately started to invade my life.

My way of photographing is my way of life. I photograph from my experience, my way of seeing things.

Photography is full of symbolism, it's a symbolic language. You have to be able to materialize all your thoughts in one single image.

What I want is to create a discussion about what is happening around the world and to provoke some debate with these pictures. Nothing more than this.

So many times I've photographed stories that show the degradation of the planet. I had one idea to go and photograph the factories that were polluting, and to see all the deposits of garbage. But, in the end, I thought the only way to give us an incentive, to bring hope, is to show the pictures of the pristine planet - to see the innocence.

We live in a society where we never prepare people to be a community.

In the end, the only heritage we have is our planet, and I have decided to go to the most pristine places on the planet and photograph them in the most honest way I know, with my point of view, and of course it is in black and white, because it is the only thing I know how to do.

There are moments that you suffer a lot, moments you won't photograph. There are some people you like better than others. But you give, you receive, you cherish, you are there. When you are really there, you know when you see the picture later what you are seeing.

I am a former economist. I never went to photography school to learn photography.

I tell a little bit of my life to them, and they tell a little of theirs to me. The picture itself is just the tip of the iceberg.

I discovered that close to half the planet is 'pristine.' We live in towns such as London, Paris or Sao Paulo and have the impression that all the pristine areas are gone, but they are not.

Of course, I won't be abandoning photography, because it is my life.

The picture is not made by the photographer, the picture is more good or less good in function of the relationship that you have with the people you photograph.

I have tried to bring about better communication between people. I believe that humanitarian photography is like economics. Economy is a kind of sociology, as is documentary photography.

The language that photography has is a formal language. Any photographer is doing something formal. If it's formal, then it must be an aesthetic way to communicate.

We are animals, born from the land with the other species. Since we've been living in cities, we've become more and more stupid, not smarter. What made us survive all these hundreds of thousands of years is our spirituality; the link to our land.

The light in Alaska in particular is so beautiful. So beautiful! Such incredible light.

I don't believe a person has a style. What people have is a way of photographing what is inside them. What is there comes out.

What I want is the world to remember the problems and the people I photograph. What I want is to create a discussion about what is happening around the world and to provoke some debate with these pictures. Nothing more than this. I don't want people to look at them and appreciate the light and the palate of tones. I want them to look inside and see what the pictures represent, and the kind of people I photograph.

Most of the information we now get is through television and is mutilated. Photography offers the opportunity to spend much more time on a topic. It's relatively cheaper medium, and can allow a photographer really to live in another place, show another reality, get closer to the truth.

I have two children. I have a Down syndrome child whom I love very much, and my wife that I love.

As in any person's life, there have been difficult moments: I have a son with Down's syndrome; through my photography, I have witnessed all manner of human degradation. But there have also been very happy moments.

You photograph with all your ideology.

When you work fast, what you put in your pictures is what your brought with yoiu - your own ideas and concepts. When you spend more time on a project, you learn to understand your subjects. There comes a time when it is not you who is taking the pictures. Something special happens between the photographer and the people he is photographing. He realizes that they are giving the pictures to him.

I have a way to photograph. You work with space, you have a camera, you have a frame, and then a fraction of a second. It's very instinctive. What you do is a fraction of a second, it's there and it's not there. But in this fraction of a second comes your past, comes your future, comes your relation with people, comes your ideology, comes your hate, comes your love - all together in this fraction of a second, it materializes there.